Sixteen Experimental Investigations from the Harvard Psychological Laboratory - Hugo Münsterberg (best life changing books txt) 📗
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interest than M., are as follows: For (1) I. + D. = D.; (2) I. = D. +
D.; (3) I. = D.; (4) I. = D.; (5) I. + D. = D.; etc. These are in
order of complete balance, but it will be seen that from (7) on, while
the factors are constant, the framework is not balanced; e.g. in (9)
both I. and D. work on the same side. For these groups, therefore, the
variations, if there is balance, will be more striking. Eliminating
the balancing elements in the framework, the tables for the ten groups
are:
(1) I. + D. = D. (2) I. = D. + D(M). (3) I. = D.
969. I. = Ms. 680. I. = D. 1094. Ms. + I. = I. + D.
601. I. = Ms. 735. I. = D. 33. I. = I. + D
49. I. = Ms. + I. 1121. I. = D.
634. I. = Ms. + I. 1035. I. = D. (4) I. = D.
584. I. = I. 333. I. = I. + D. 775. I. = D.
686. I. = I. 80. I. = I. + D. 746. I. = D.
794. I. = D. 753. I. = I. + D. 1106. I. = Ms. + D.
164. I. = D. 1114. I. = D. + L. 781. I. = Ms. + D.
368. I. = D. + V. 1131. I. = I. + D.
927. I. = V. 517. I. = I. + D.
273. I. = V. 327. I. + Ms. = D. + V.
951. I. + L. = D. + V.
715. Unbalanced.
(5) I. + D. = D. (6) I. = (7) I. + D. =
43. I. = I. 854. I. = Ms. 725. I. + D. = I. + L.
711. I. = I. 1148. I. = I. 206. I. + D. = I. + L.
447. I. = Ms. 709. I. = D. 155. I. + D. = D. + L.
643. I. = Ms. 907. I. = D. 739. I. + D. = L.
777. I. = Ms. + I. 586. I. = Ms. + I. 331. I. + D. = V.
637. I. = Ms. + I. 137. I. = Ms. + I. 980. Unbalanced.
187. Unbalanced.
(8) I. + D. = (9) I. + (D. + D.) = (10) 0.
57. I. + D. = Ms. 835. I. + D. = Ms + I.
979. I. + D. = I. + L. 724. I. + D. = Ms + L.
134. I. + D. = D. 495. I. + D. = Ms + L.
106. I. + D. = D. + V. 182. I. + D. = Ms + V.
220. I. + D. = L. 817. I. + D. = I.
118. I. + D. = V. + L. 662. I. + D. = I.
157. Unbalanced. 806. I. + D. = I.
1136. I. + D. = I. + L.
865. I. + D. = I. + V.
1023. I. + D. = V.
531. I. + D. = L.
553. I. + D. = L.
The most used element is I., in 100 per cent. of cases; the least
used, V., 13 per cent. D., in 91 per cent. of cases; Ms., 26 per
cent.; L., 19 per cent. 175, 433, unbalanced.
As seen in the table, a balance of elements is kept, except in four
cases which will be hereafter considered. In all cases the balance is
between the interest in C., sometimes plus D., (in the attention of
the figures to C.), on the one side, and other elements on the other.
Very seldom are other salient points found on the C. side. When the C.
side is especially ‘heavy,’ the number of opposing elements increases,
and especially takes the form of V. and L. [cf. (7), (8), (9)], which
were observed in the experimental chapter to be powerful in attracting
attention. For the fairly well-balancing framework—(i), (2), (3) and
(4)—Ms., I., and D. are much more often the opposing elements.
The pictures listed as unbalanced are, with one exception, among the
oldest examples given; conceived in the most slavish geometrical
symmetry in which, indeed, the geometrical outline almost hides the
fact that the slight variations are all toward a lack of balance.
There is but one S. & S. case (1054), Titian, _The Madonna of the
House of Pesaro_. In this, M. and C. are on a high throne on the
Right, other figures lower down on the Left bearing a flag that leans
back to the Left. All the lines of the figures and of the massive
architecture and the general direction of attention bear down so
strongly to Left that the importance of the Right figures is balanced.
We should have, then, I. = I. + L. + D. The D.C. cases, seven in
number, are remarkably alike. Six have a vista separating the two
groups, in five remarkably deep and beautiful, as if to fix the
oscillating attention there. In all, M. and C., either in position or
by the direction of their lines, are nearer the Cn. than the opposing
figures, which are naturally less interesting, thus giving an instance
of the mechanical balance. Their general equation, then, would be I. =
M. or M. + L. Having shown that the small variations from the general
symmetrical type of altarpieces are invariably, except in primitive
examples, in the direction of substitutional symmetry, or balance, we
may next study the Madonna pictures, using the same classifications
for purposes of comparison.
MADONNA WITH INFANT CHRIST.
(1) I. + D. = D. (2) I. = D. + D. (4) I. = D.
56. I. = L. 271. I. = D. + L. 668. I. = D. + Ms.
332. I. = L. 867. I. = D. + V. + D. 14. I. = D. + I.
633. I. = D. 91. I. = D. + V.
(3) I. = D. 1111. I. = D. + V.
144. I. = D. 1011. I. = D. = L.
521. I. = D. 915. I. = D. = L.
356. I. = L. + D. + D.
296. I. + Ms. = V. + L.
(5) I. + D. = D. (6) I. =
51. I. = D. 596. I. = Ms.
581. I. = D. 892. I. = Ms.
829. I. = D. + I. 224. I. = I. + D.
159. I. = I. + D. 908. I. = D. + L.
683. I. = D. + L.
1045. I. = I. + L. (7) I. + D. =
745. I. = I. + L. 344. I. + D. = Ms.
734. I. = D. + L. 949. I. + D. = Ms. + V. + L.
404. I. = D. + L. 608. I. + D. = L.
248. I. = L. 524. I. + D. = L.
37. I. = L.
97. I. = L. (8) 0.
363. I. = V. + L.
674. I. = V. + L. (9) I. + D. + D. =
62. I. = V. + L. 361. I. + D. = L.
1142. I. = V. + L.
1018. I. = V. + L. (10)
110. I. + V. = Ms. + L. 538. I. = D.
411. I. + V. = Ms. + L. 614. I. + Ms. = V.
771. I. + Ms. = V. + L. 34. D. = Ms. + L.
Most used element, I., 100 per cent.; least used, Ms., 21 per cent.
D., 96 per cent.; L., 64 per cent.; V., 27 per cent.
The first thing to be noted, on comparing this table with the
preceding, is the remarkable frequency of the use of the vista and the
line. Among the altarpieces, the direction of attention was the
element most often opposed to the interesting object; and next to
that, another object of interest. These two elements, however, here
sink into comparative insignificance. In general, balance is brought
about through the disposition of form rather than of interests. This
appears in comparing the numbers; against the use of L. in 19 per
cent. of the cases among the altarpieces, we have 64 per cent. among
the Madonna pictures; V. is used in the former cases 13 per cent. of
the times, in the latter 27 per cent. The reason for this would appear
to be that the lack of accessories in the person of saints,
worshippers, etc., and the consequent increase in the size of M. and
C. in the picture heightens the effect of any given outline, and so
makes the variations from symmetry greater. This being the case, the
compensations would be stronger—and as we have learned that V. and L.
are of this character, we see why they are needed. None of the M. and
C., S.C. pictures fails to give a complete balance of elements
according to hypothesis. There are no well-defined cases of S. & S. or
D.C.
Portraits.
A study of the Madonna pictures of all types, then, results in an
overwhelming confirmation of the hypothesis of substitutional
symmetry. It may be objected that the generally symmetrical framework
of these pictures suggests a complete balance, and the next step in
our analysis would, therefore, be a type of picture which is less
bound by tradition to the same form. The portrait would seem to
combine this desideratum with generally large and simple outlines, so
that the whole surface can be statistically reported with comparative
ease. A detailed analysis of a couple of portraits may justify the
classification adopted.
900. Anton Raphael Mengs, Self-Portrait. The head of the painter is
exactly in Cn., but is turned sharply to Right, while his shoulders
turn Left. His arm and hand are stretched out down to Right, while his
other hand, holding pencil, rests on his portfolio to Left. Hence, the
D. of attention plus that of L. on Right, balances I. in implements,
plus D. of body on Left, or D. + L. = D. + I.
438. B. van der Helst, Portrait of Paul Potter. The head of the
subject is entirely to Left of Cn., his easel on Right. His body is
turned sharply to Right, and both hands, one holding palette and
brushes, are stretched down to Right. His full face and frontward
glance are on Left. Hence, Ms. + I. in person balances I. in
implements + D. of L., or Ms. + I. = I. + L.
It is seen that the larger elements in these pictures are the
directions of the head and body, and the position of the head, with
reference to Cn. The following classification is based on this
framework.
CLASSIFICATION OF PORTRAITS.
A. Head in Cn.
I. Body front, head front, 6
II. Body turned, head turned other way, 7 D. = D.
III. Body turned, head front, 31 D. =
IV. Body front, head turned, 1 D. =
V. Body turned, head turned same way, 106 D. + D. =
B. Head not in Cn.
I. Body turned to empty side, head to same, 18 Ms.=D.
II. Body turned to empty side, head front, 23 Ms. = D.
III. Body turned to empty side, head to other, 3 Ms. + D. = D.
IV. Body front, head front, 2 Ms. =
V. Body turned from empty side, head same way, 10 Ms. + D. =
This is also in order of less complete balancing of the original
elements. The principal characteristics of the different divisions are
as follows:—
A.
I. (Symmetrical.) Most used element, L.; least used, V.
II. (Balanced, D. = D.) Most used element, L.; least used, V.
III. (D. = .) Most used element, Ms.,
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